The door facing this wall gives access to the Hall of the Ambassadors (Salon de los Embajadores), the finest apartment in this fairy palace. The doors are magnificent examples of inlay work, and were, according to the inscription on them, made by Moorish carpenters from Toledo in the year 1364. The hall is about thirty-three feet square, and exhibits a splendid combination of the various styles with the Gothic and Renaissance. The ornamentation is rich and elaborate almost beyond the possibility of description. The magnificent "half-orange" ceiling of carved wood rests on a frieze decorated with the Tower and Lion. Then come Cufic inscriptions on a blue ground and ugly female heads of the sixteenth century. Then, below another band of decoration, is a row of fifty-six busts of the Kings of Spain, from Receswinto the Goth to Philip III. These date, at earliest, from the sixteenth century. The wrought-iron balconies were made by Francisco Lopez in 1592. The decoration of this splendid chamber is completed by a high dado of blue, white, and green "azulejos." It was in this hall that Abu Saïd is said to have been received by his treacherous host. The Hall of the Ambassadors communicated on each side with the patio and adjoining halls by entrances composed of three horseshoe arches, supported by graceful pillars and enclosed in a circular arch. Through the arch facing the entrance from the patio we pass into a long narrow apartment, known as the Comedor, where the late Comtesse de Paris was born in 1848. To the north of the salon is a small square chamber, called the "Cuarto del Techo de Felipe Segundo," with a coffered ceiling dating from the time of that king. North of this room is the exquisite little Patio de las Muñecas (Court of the Dolls), purely Granadine in treatment. The rounded arches are separated by cylindrical pillars--I call them so for want of a better word--which rest on slender columns of different colours, reminding one of the early or Cordovan style. The capitals are rich, the pillars they uphold decorated with vertical lines of Cufic inscriptions, many of which, says Contreras, are placed upside down. The walls and spandrils are tastefully adorned with stucco work of the trellis pattern, tiling and mosaic. This court, though still harmonious and beautiful, suffered rather than benefited by its restoration in 1843; but the architecture has been not unsuccessfully reproduced in the upper storey.